Guitar For Bassists

The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee's (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: 'In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.' Over the last couple of years I moved back to Jelly Roll Morton's city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman's reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means 'conversation with the gods' in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao's (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950's following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo's ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece's characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles' Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don't Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach's Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare's Twelfth Night, and played incidental music for their production of Bertold Brecht's The Good Woman of Sichuan. He has performed Carulli's Guitar Concerto in A, Leonard Bernstein's West Side Story and Marvin Hamlish's A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony's co-production of George Gershwin's Opera Porgy and Bess.

Dossiers par Charlie Byrd, Lenny Breau, George Van Eps, Laurindo Almieda et Joe Pass ont défini une norme très élevée pour fingerstyle solo de guitare jazz, et c'est de ce point de vue que les vols solos de Taylor, Crook, Nichols, Baker et Mann prennent Escadre. Chaque joueur a développé une approche distinctement différente à l'interprétation et l'écriture de jazz pour solo de guitare en écoutant attentivement à de nombreux autres musiciens et compositeurs - pianistes, cor bassistes, acteurs et chanteurs, ainsi que de nombreux guitaristes de jazz, de blues et d'autres styles. Ce qui distingue les guitaristes de jazz plus traditionnels (qui plus ou moins fonction dans une voix linéaire dans un ensemble) est leur capacité à jouer (ou impliquent) tous les aspects de la musique - rythmique, cordes, basse et mélodie - sans accompagnement. Leurs performances démontrent non seulement leur brillance technique et leur imagination, ils sont un témoignage de la puissance durable et la beauté de la guitare jazz dans son évolution actuelle comme une force majeure instrumentale américain Mu... / Guitare

Par WILKINS JACK. Wilkins effectue des airs de la vedette avec un bassiste dressée et un guitariste rythmique. Solos et exemples sont principalement de type seule ligne, avec des sections improvisées fines et éclair s'exécute. Isolation plus 2-5-1 progression, par le biais de cercle de quintes. Introduit les arpèges qui correspondent à cette progression. Fast paced avec beaucoup d'exemples. L'écran numéros aident les exemples mettre en corrélation avec le monologue et la performance. La substitution de Trichrome est démontrée. Introduit les arpèges de base 5: principaux 7, mineur 7, dominant diminué de moitié et diminuée. Wilkins encourage à partir de toute doigt dans n'importe quelle position. Aborde la notion de mouvement contraire - ligne/mélodie basse. Le téléchargement de la brochure est détaillé et très utile. Wilkins recommande l'utilisation d'un métronome pour améliorer la capacité de tous. Wilkins joue une guitare jazz arch-haut, jouée avec un plat pick, hybride occasionnel technique utilisant que la flat pick et le doigt de la main sont présentés, ainsi que fingerstyle technique. Mode de Dorian et échelles sont en général bri... / Niveau : Intermédiaire à Avancé / Jazz - Solos / Accessoire / Guitare Flatpick et Plectre

Adapted by Corey Christiansen Spiral Book and 2 CDs! Why should horn players have all of the fun' Now, the number one selling Jazz Improvisation book in the world has a whole new look! Introducing a new version of Jamey's world famous Volume 1 - How To Play Jazz And Improvise, completely revised and specifically tailored for guitarists by jazz great Corey Christiansen! This edition is perfectly aligned with the original classic Sixth Edition that introduced tens of thousands of musicians to essential jazz fundamentals such as scale/chord relationships, articulation, note choices, etc. In this special version, however, the text has been carefully edited and rewritten to speak specifically to guitarists. Even non-reading players will benefit, because we've also included TAB and FRAMES for each of the musical examples. The piano track from the original CD has been replaced by Corey on guitar, and many of the chords and voicings are explained and notated in the book. The play-a-long/demonstration CD includes special stereo separation, allowing the guitar on each track to be eliminated so that the student can play along with bassist Rufus Reid and drummer Jonathan Higgins. A second CD includes the same play-a-long tracks as the first CD, but at slower practice tempos. This high-quality book is spiral bound, designed to lie flat for ease of use. A complete package! Includes: Scales/Chords Developing Creativity Improv Fundamentals 12 Blues Scales Bebop Scales Pentatonic Scales Time and Feel Melodic Development II/V7s Related Scales and Modes Practical Exercises Patterns and Licks Dominant 7th Tree of Scale Choices Nomenclature Chromaticism Scale Syllabus and more! NOTE FROM JAMEY When I first heard So What on the Kind of Blue record I didn't think anything was happening because I was used to hearing changes flying by and this seemed so tame by comparison. I quickly fell in love with Kind of Blue and of course we at IU started experimenting with modal tunes and trying to keep our place in those many 8 bar phrases that seemed at times to make me feel like I was in the middle of a desert and couldn't see for the life of me the beginning of the next 8 bar phrase.

Une nouvelle série complète de livre d'instruction et les packs de CD pour le guitariste de début, le bassiste du groupe ou le joueur d'harmonica. Maîtriser les bases de la jouer de votre instrument choisi plus un guide complet pour jouer dans les styles de country, folk, blues et le rock. Une bonne introduction à la Fast Forward série. Un thésaurus concis des formes d'échelle essentiels et pratique pour l'étude et de pratique. Un guide complet à l'aide d'échelles pour construire la maîtrise de l'idéogramme, l'endurance et la vitesse pour compter les joueurs bass. / Guitare / 32 pages / Partition Cd

Perfect for beginning bassist or players who want to enhance their knowledge. Starting with a review of reading music, this book explains the basics of music theory as it relates to being a great bass player with an easy, step-by-step approach. Before you know it, you'll be using major scales, triads and 7th chords to create cool-sounding bass lines for the most important chord progressions all bassists need to know. Learn to lock in with a drummer and the basics of blues and funk styles. Students, teachers and self-taught players alike will enjoy this thorough, easy-to-use method.

Description Fifteen funky favourites for bassists in accurate notation and tablature transcriptions from the horn-heavy Oakland soulsters. This Play It Like It Is Bass edition has been fully authorized by Tower of Power and also features an introduction from groove legend Francis Rocco Prestia in his own words. Songlist Can't You See (You're Doing Me Wrong) Credit (Go And Get It With Your Good Credit) Diggin' On James Brown Don't Change Horses Down To The Nightclub So Very Hard To Go Soul Vaccination Soul With A Capital S There's Only So Much Oil In The Ground This Time It's Real This Type Of Funk What Is Hip You Got To Funkafize You Ought To Be Havin' Fun You're Still A Young Man

Bass basics, major scales and modes, harmonic and melodic minor scales and modes, arpeggio patterns and symmetric scales (whole tone and diminished). Serious Electric Bass is a definitive, comprehensive, user-friendly guide for electric bassists of all levels. 279 pages.